The problem of "genius and villainy" in the tragedy of A.S. Pushkin "Mozart and Salieri". methodical development in literature (grade 9) on the topic. Analysis of "Mozart and Salieri" Pushkin Problematics of the Tragedy Mozart and Salieri

Literature lesson in grade 9

Subject: Lesson extracurricular reading. A.S. Pushkin. Tragedy Mozart and Salieri. The problem of "genius and villainy"

Lesson goals. To cultivate love for the work of A. S. Pushkin. To acquaint students with Pushkin's "Little Tragedy" "Mozart and Salieri". Develop the ability to analyze a dramatic work.

Tasks:

Educational - p to acquaint with the history of the creation of the tragedy, its compositional features the history of the life of the prototypes of the artistic worldview, two types of worldview, personified in the characters of the play.

Educational - r develop an idea of the tragedy genre, content analysis skills artwork, build an oral statement on a given topic using elements of critical thinking technology.

Educational - awareness moral values as the basis of human relationships and human life; awareness of the value of human life, the joy of labor creativity as its basis, faith in human capabilities, familiarization with classical music.

Lesson type: A lesson in assimilation of new knowledge with elements of comparative analysis.

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Literature lesson in grade 9

Subject : Lesson of extracurricular reading. A.S. Pushkin. Tragedy Mozart and Salieri. The problem of "genius and villainy"

Lesson goals. To cultivate love for the work of A. S. Pushkin. To acquaint students with Pushkin's "Little Tragedy" "Mozart and Salieri". Develop the ability to analyze a dramatic work.

Tasks:

Educational - pto acquaint with the history of the creation of the tragedy, its compositional features, the life history of the prototypes of the artistic worldview, two types of worldview, personified in the characters of the play.

Educational - r to develop an idea of the tragedy genre, the skills of analyzing the content of a work of art, to build an oral statement on a given topic using elements of critical thinking technology.

Educational -awareness of moral values as the basis of human relationships and human life; awareness of the value of human life, the joy of labor creativity as its basis, faith in human capabilities, familiarization with classical music.

Lesson type : A lesson in assimilation of new knowledge with elements of comparative analysis.

Equipment:

Reproduction of the portrait of Alexander Pushkin

Video fragment from the film "Amadeus" by Milos Forman

Video clips from the rock opera "Mozart" by Dov Attya and Albert Baron Cohen

Audio recording of Mozart's compositions "Requiem" and "Sonata No. 6"

Audio recording of Salieri's composition "Armonia per in templo della notte"

During the classes

I. Organizational stage

II. Announcement of the topic and objectives of the lesson

III. Motivation for learning activities:

Teacher's word:

Mozart and Pushkin - 2 geniuses: Mozart is the genius of musical art, and Pushkin is artistic.

“The sun of Russian poetry,” Belinsky wrote about Pushkin. "Eternal sunshine" - Rubinstein called Mozart.

IV. Stage of assimilation of new knowledge:

1. From the history of the creation of "Little Tragedies"

(teacher's lecture with elements of conversation is accompanied by a presentation - Annex 2)

In 1830, Pushkin wrote four plays in Boldino: The Miserly Knight, Mozart and Salieri, stone guest”, “Feast during the plague”, which constituted a separate cycle “Little tragedies”.

Notebook entry:A cycle is a genre formation consisting of works united by common features (by composition, plot, system of images, ideological and thematic features: the goal of each tragedy is to debunk some negative human quality).

The "Little Tragedies" are characterized by a rapid development of the action, a sharp dramatic conflict, a depth of penetration into the psychology of the characters, captured by a strong passion, a truthful portrayal of characters that are distinguished by their versatility, individual and typical features.

In the "Little Tragedies" all-consuming passions or vices are shown:

Pride;

Greed;

Envy;

Gluttony;

Anger.

The Miserly Knight reflects the Middle Ages of Western Europe, the life and customs of a knight's castle, and shows the power of gold over a person's soul.

In The Stone Guest, the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to the satisfaction of his desires in the pursuit of pleasure.

"Feast in Time of Plague" - philosophical reflection about human behavior in the face of the danger of death.

2. Definition of the theme of the tragedy "Mozart and Salieri"

– What is the theme of the tragedy "Mozart and Salieri"? (In "Mozart and Salieri" the destructive power of envy was revealed).

Subject - artistic creativity and envy as an all-consuming passion of a person, leading him to villainy. The original name of the tragedy "Envy" has been preserved, which largely determines its theme.

3. The history of creation and the basis of the plot of the tragedy

The tragedy was written in 1830, but the idea dates back to 1826. First published in 1831.

Pushkin based the plot on rumors widely known at that time that the famous Salieri poisoned the brilliant Mozart out of envy.

Mozart's death is shrouded in mystery. Mozart died in 1791, at the age of thirty-five, and many contemporaries were convinced that he had been poisoned. Salieri lived to a ripe old age, last years suffered from mental disorders and more than once repented that he had poisoned Mozart. Despite the fact that some acquaintances of both composers and biographers of Mozart denied the possibility of this crime, the issue still remains unresolved definitively. Gaushkin considered the fact of Mozart's poisoning his best friend Salieri established and psychologically justified. Antonio Salieri at one time was famous composer, who wrote quite a few works, while there is historical evidence that he envied the brilliant Mozart quite strongly. But it has NOT been proven that Salieri poisoned Mozart, or even that he had such a plan. It is only known for certain that Mozart died of some strange disease that gave complications to the brain, before his death he raved a lot and kept repeating "The Black Man" all the time (a man who approached him on the street and ordered "Requiem"). The main argument is the recognition of Salieri himself in the autumn of 1823 that he poisoned Mozart, after which Salieri tried to cut his throat with a razor. However, Salieri's confessions can also be interpreted as evidence of his innocence. According to many, Salieri was mentally ill and made his confession delirious. If he were of sound mind, why would he make a fatal confession? Conscience tortured? Why did she speak in him after more than thirty years? And the suicide attempt itself testifies to the clouded state of mind of the composer. However, some researchers argue that the idea of suicide had matured in him for a long time, and, of course, he did not have “clouding of reason”, as the newspapers tried to assure the public.

Salieri did not go to Mozart's funeral. And Mozart's wife was not there either - she was very sick at that moment and could not get up. Salieri's accusers point out that Mozart was buried according to the "third category" - in a common grave with vagabonds and criminals; none of the composer's relatives and acquaintances were present at the burial of the body. This was allegedly done so that later it would be impossible to find Mozart's graves if someone would decide to carry out an exhumation. There are also objections to these arguments. Forensic toxicology as a science really arose only in the middle of the 19th century, and in the time of Mozart, poisoners (if there were any) did not even think of exhumation. Well, the reason that the participants in the funeral procession turned halfway, perhaps, is that they did not want to be present at the shameful burial of a genius. We note by the way that the inhabitants of Vienna were informed of the death of Mozart only after the funeral. Now the location of Mozart's grave is unknown, and the mystery of his death, most likely, will never be revealed.

4. Statement of the problem question:

What caused the controversy about Mozart's death?

To find out the answer to this question, one should analyze the images of composers and compare them with historical prototypes.

5. Message from a trained student about A. Salieri

Salieri was a student of the great K. V. Gluck, who even commissioned him to write the opera Danaids (1784) for the Paris Academy instead of himself.

In total, Salieri created over 40 operas, including "Tarar" to a libretto by P. Beaumarchais, staged in Paris in 1787. Salieri's fame as a composer grew and spread throughout Europe. Louis XVIII awarded him the Legion of Honor. In addition to operas, he wrote five masses, a requiem, a symphony, an organ concerto and two piano concertos, as well as oratorios, cantatas and motets.

In addition, Salieri gained fame as a brilliant teacher. He brought up more than 60 students, including L. van Beethoven, F. Schubert, F. Liszt. In 1817 the musician became the first director of the Vienna Conservatory. Died May 7, 1825 in Vienna.

Unfortunately, Salieri's contribution was undeservedly forgotten for a long time because of the legend about the poisoning of W. A. Mozart by him, used by A. S. Pushkin in "Little Tragedies".

6. Historical background:

1) Pierre-Augustin Caron de Beaumarchais is a famous French playwright and publicist.

Marie-Madeleine Francke, a 30-year-old beauty, the wife of a decrepit accounting controller in the kitchen of the French king, was carried away by a young watchmaker. As a result, the controller gave up his position to Pierre Caron. Old Franke dies, and young Karon marries his widow. From that time on, the watchmaker's son received a title of nobility and increased his surname with the increase he glorified - Beaumarchais. Less than a year after the wedding, on September 29, 1757, the wife dies. Enemies claim that Beaumarchais poisoned her. However, this is hardly the case, because all the property goes to relatives, and Beaumarchais is again almost a beggar.

2) Michelangelo Buonarroti, full name Michelangelo di Lodovico di Leonardo di Buonarroti Simoni - Italian sculptor, artist, architect, poet, thinker. One of the greatest masters of the Renaissance.

Salieri's words about Michelangelo Buonarotti remind us of a fairly well-known legend, according to which Michelangelo, painting one of the Vatican cathedrals, killed the sitter in order to more plausibly depict the torment of the dying Christ.

7. Checking d / z: quotation plan-characteristic of the image of Salieri

8. Message from a trained student about W.A. Mozart

The heroes of tragedy are real people: Austrian composer Wolfgang Amadeus Mozart (1756-1791) and Italian composer, conductor, teacher Antonio Salieri (1750-1825).

Wolfgang Amadeus Mozart is an Austrian composer. Mozart has been composing music since the age of five. At fourteen he became a court musician in Salzburg. Then he lived and worked in Vienna. He visited Italy, was elected a member of the Philharmonic Academy in Bologna. In 1787, the first performance in Prague of his opera Don Giovanni took place. The following year it was staged in Vienna, Salieri was present.

High harmony, grace, nobility, humanistic orientation of Mozart's works were noted by his contemporaries. Critics wrote that his music is "full of light, peace and spiritual clarity, as if earthly sufferings awakened only the Divine sides of this person, and if at times a shadow of sorrow sweeps, then peace of mind is visible in it, arising from complete obedience to Providence." Mozart's music is distinctive and original. He created 628 works, including 17 operas: The Marriage of Figaro, Don Giovanni, The Magic Flute, and others.

9. Checking d / z: quotation plan-characteristic of the image of Mozart

10. Drafting comparison table"Mozart - Salieri"

11. Viewing and analyzing a video clip:

I bring to your attention a fragment from the film "Amadeus" by the Czech-American film director Milos Forman. Your task is to answer the question: “What is the main difference between the heroes of the film and the characters of the tragedy?” (Mozart, the hero of the film, taunts Salieri, which cannot be said about the character of the tragedy).

So, A.S. Pushkin endows his heroes with respect for each other, excludes ridicule and irony, which means that they are not unambiguous.

12. Cross discussion technique:

Students are divided into two groups: 1 - finds positive and negative traits Mozart, 2 - Salieri.

13. Summing up the subtotal:

What is the difference between talent and genius?(Talent - outstanding abilities; Genius - higher creativity, inspiration)

Which image is the embodiment of talent, and which one is genius?(Salieri - talent, Mozart - genius)

14. Problematic issue:

Why is his path to perfection so difficult?

15. Listening and analysis of compositions:

1) Listening to an audio recording of Salieri's composition "Armonia per in templo della notte";

2) Word drawing;

3) Listening to an audio recording of Mozart's composition "Sonata No. 6":

Numerous studies by scientists, doctors and psychologists around the world have proven that the music of the Austrian composer Mozart has a strong healing effect on people: it increases mental abilities, increases concentration, has a beneficial effect on the treatment of a number of serious diseases, even epilepsy, helps to get rid of mental problems, improves speech and hearing. There is a known case when music gave life to the dying 78-year-old Marshal Richelieu Louis Francois de Vinro, who, having listened to his favorite concert on his deathbed, recovered and lived for another 14 years.

4) Word drawing.

5) Conversation ( comparative analysis compositions).

What sowed envy in the soul of Salieri?

16. Drawing up analytical schemes:

1) "The path of Salieri-composer";

2) "The way of Mozart-composer";

3) Summing up

(Mozart was endowed with a gift from birth, and Salieri had to work hard to achieve fame)

17. Viewing and analysis of the video fragment of the rock opera "Mozart":

1) Teacher's word:

This is a French musical produced by Dov Attya and Albert Baron Cohen, dedicated to the life story of Wolfgang Amadeus Mozart. It is considered one of the most commercially successful projects among those released in 2009-2010, with more than 800,000 tickets sold. This performance was watched not only in France, but also in Belgium, Switzerland, Ukraine, Russia, Japan and Korea.

2) Comparative analysis of the characters of the tragedy and rock opera:

What do modern composers look like, according to directors?

Does this change the essence of the conflict between them?

3) Problem question:

Why is the history of the relationship between Mozart and Salieri still relevant?

V. Summing up the lesson:

1. Answer to the problematic question of the lesson:

- "Genius and villainy - two things incompatible"?

2. Reflection

What has the tragedy of A.S. Pushkin taught us today? (No need to envy, no need to be afraid of difficulties, you need to be brave, act like a human being)

4. Evaluation of students' activities

5. D / z: write an essay "What life lessons does studying the classics give us?" (on the example of the tragedy by A.S. Pushkin "Mozart and Salieri").

6. The final word of the teacher:

I would like to end our lesson in the same way as A.S. Pushkin ended his tragedy: with Mozart's composition "Requiem".

Requiem - 1. funeral service for Catholics; 2. polyphonic musical composition mournful character for the choir and orchestra for such a service.

(Audio is playing.)

"Mozart and Salieri" is a kind of requiem for a society that is mired in envy, gossip, and the pursuit of material wealth.

“There is no truth on earth…” - a sentence to a “terrible age” and “terrible hearts”. The truth will be only when humanity eradicates these vices in itself. Let's strive for perfection.

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The work "Mozart and Salieri", whose genre is a small tragedy, belongs to the pen of the famous Russian poet, writer and playwright A. S. Pushkin. The author planned to write a new play in 1826, but created it in the most fruitful period of his work - during the so-called Boldin autumn. The play was published in 1831, immediately giving rise to one of the most enduring myths that the composer Salieri killed his friend Mozart. The text of the drama became the basis for the libretto of the opera of the same name by N. A. Rimsky-Korsakov, as well as for film scripts.

idea

The play "Mozart and Salieri", the genre of which is somewhat specific in comparison with other works of the author, was ready five years before its publication, as there are written testimonies of the poet's friends and some of his contemporaries. But the poet was afraid of official criticism, so he was in no hurry to publish it. He even tried to publish his new works anonymously or hide his authorship by pointing out that he had translated foreign works. The work was written under the strong influence of his previous major historical drama Boris Godunov.

While working on it, Pushkin wanted to write a number of plays dedicated to the historical episodes of other countries. And if in the first case he was inspired by the work of W. Shakespeare, then this time he took as a model the dramaturgy of the French author, whom he preferred in terms of the harmony of the plot and style.

Plot Features

One of the most famous works Pushkin was the play "Mozart and Salieri". The genre of this drama is very specific, since it is included in the cycle of so-called small tragedies, which as such do not exist in literature, but were developed by the author himself exclusively for new works, of which there were only four. One of the main distinguishing genre features of the work is the deliberate simplification of the plot. This play only has two actors(not counting the blind violinist who appears in one episode).

The entire composition of the play is monologues and dialogues, in which, nevertheless, their characters are fully revealed. The composition “Mozart and Salieri” is distinguished by the carefully written psychology of the characters. The genre of the play determined its intimacy: the action takes place in a closed space, which, as it were, sets off and emphasizes the dramatic nature of the story even brighter. The ending of the work is quite predictable: there is practically no intrigue in terms of the plot. The main plot is a demonstration inner world characters, an attempt to explain their behavior and motives.

Language

The drama "Mozart and Salieri" is distinguished by a very simple, but at the same time rich vocabulary. Pushkin abandoned the complex literary turns that he resorted to when writing his previous tragedy, when he imitated Shakespeare. Now he was interested in the easy, elegant language of Racine. He ensured that the reader (or viewer of the theatrical production) was not distracted from the essence of the conflict and the opposition of the characters.

Therefore, he deliberately narrowed the scope of the narrative and achieved maximum conciseness in dialogues and monologues. And in fact, both heroes immediately become very understandable, since from their very first appearance they clearly, clearly and accurately state their motives and goals in life. Perhaps, it was in small tragedies that the author's talent for captivating simplicity in vocabulary was especially clearly manifested. This is what attracts the reader to the drama "Mozart and Salieri". Pushkin wanted to make the meaning of the conflict as accessible as possible, so he avoided anything that could distract the reader. At the same time, the speech of the characters is not without some elegance: close to colloquial, it nevertheless sounds very melodious and harmonious. In the work under consideration, this feature is manifested especially prominently, since two of its heroes are composers, people of mental labor who have a refined taste.

Introduction

One of the most famous writers and poets is Pushkin. "Mozart and Salieri" ( summary plays are distinguished by apparent simplicity and accessibility for understanding) is a drama that is interesting for its dramatic nature and complex psychological plot. The beginning opens with a monologue by Salieri, who talks about his devotion and love for music, and also recalls the efforts he made to study it.

At the same time, he expresses his envy (by the way, this was one of the draft titles of the play) to Mozart, who composes brilliant works with ease and virtuosity. The second part of the monologue is devoted to the disclosure of his plan: the composer decided to poison his friend, guided by the fact that he wasted his talent in vain and does not know how to find a worthy use for it.

First conversation of heroes

Like no one else in a short work, Pushkin was able to convey the full depth of psychological experiences. “Mozart and Salieri” (the summary of the play is the best proof of this) is a verbal duel between two characters in which their interests and life goals collide. However, outwardly they communicate very friendly, but the author structured their speeches in such a way that each phrase proves how much they different people and how irreconcilable the contradictions between them are. This is revealed already in their first conversation.

The theme of "Mozart and Salieri" is perhaps best revealed in the appearance of the first on the stage, which immediately demonstrates his easy and laid-back disposition. He brings with him a blind violinist who plays his composition badly, and the poor musician's mistakes amuse him. Salieri is indignant because his friend scoffs at his own brilliant music.

The second meeting of the characters

This conversation finally strengthened the composer's decision to poison his friend. He takes the poison and heads to a restaurant where they have agreed to have dinner together. Between both again there is a dialogue that finally puts the dot over i. All of Pushkin's little tragedies are distinguished by such laconism of action. Mozart and Salieri is a drama that is no exception. This second conversation between the composers is central to the narrative. During this evening, their interests and life motives directly collide.

Mozart believes that a true genius cannot do evil, and his interlocutor, although amazed by this thought, nevertheless brings his plan to the end. In this case, the reader sees that Mozart is doomed. Pushkin builds his work in such a way that there is no doubt about it. He is primarily interested in what led to this drama.

The image of the main character

The tragedy "Mozart and Salieri" is interesting in terms of the psychological confrontation of these people. The first character is very simple and direct. It never enters his head that his friend is jealous of him. But as a real genius of art, he has an unusual flair that tells him a quick end, which he also tells him about. Mozart tells Salieri a story about a strange customer who ordered him a requiem and has not appeared since then.

Since then, it seemed to the composer that he was writing a funeral mass for himself. In this short story, he senses a premonition of the impending end, although he does not realize exactly how this will happen.

The image of Salieri

This composer, on the contrary, is even more determined to carry out his cunning plan. This is especially evident in the scene when Mozart plays excerpts from the requiem for him. This moment is one of the strongest in the play. In this episode, Mozart again appears before the reader as a musical genius, and Salieri as evil personified. Thus, the author clearly demonstrated his idea that these two concepts are incompatible with each other.

Idea

The work "Mozart and Salieri" is the most philosophical work in the cycle of small tragedies, since it most fully expresses the problem of the confrontation between good and evil, embodied in the great composer and his envious. Pushkin ideally chose the heroes to embody his idea: after all, it is real, true creativity that becomes the arena of the struggle between these two opposing principles. Therefore, this drama has existential significance. And if other works of the cycle under consideration have a fairly dynamic plot that moves the main idea, then in this play everything is the other way around: the author put forward the philosophical idea that real creativity is the meaning of life, and the plot plays an auxiliary role, shading the writer's idea.

. "Mozart and Salieri"

The problem of "genius and villainy". Two types of worldview of characters.

During the classes

I. Org. moment

II. Theme and purpose of the lesson

message of the topic of the lesson;

problematic issue;

setting a goal (discussion in groups, filling out a work card).

III. Explanation of new material

1. From the history of the creation of "Little Tragedies"

(teacher's lecture with elements of conversation is accompanied by a slide presentation)

In 1830, Pushkin wrote four plays in Boldino: The Miserly Knight, Mozart and Salieri, The Stone Guest, and Feast During the Plague.

In a letter, Pushkin said that he had brought "several dramatic scenes, or small tragedies."

The plays began to be called "Little Tragedies". They are really small in volume, have a small number of scenes and characters. “Dramatic Scenes”, “Dramatic Essays”, “Dramatic Studies” - these are the names I wanted to give my plays, emphasizing their difference from traditional ones.

In the "Little Tragedies" all-consuming passions or vices are shown:

pride, despising all;

greed which does not give a person even a minute to think about the spiritual;

envy leading to atrocity;

gluttony who does not know any posts, combined with a passionate attachment to various amusements;

anger, causing terrible destructive actions.

IN "The Miserly Knight" the Middle Ages of Western Europe, the life and customs of a knight's castle were reflected, the power of gold over the human soul is shown.

IN " stone guest» the old Spanish legend about Don Juan, who lives only for himself and does not take into account moral standards, is developed in a new way; courage, dexterity, wit - all these qualities he directed to the satisfaction of his desires in the pursuit of pleasure.

« Feast in Time of Plague"- a philosophical reflection on human behavior in the face of the danger of death.

2. The theme of the tragedy "Mozart and Salieri"

- What theme is revealed in the tragedy "Mozart and Salieri"? (The destructive power of envy was revealed in Mozart and Salieri.)

The theme is artistic creativity and envy as an all-consuming passion for the soul of a person, leading him to villainy. The original name of the tragedy "Envy" has been preserved, which largely determines its theme.

3. The legend and facts of the life of Mozart and Salieri.

The heroes of the tragedy are real people: the Austrian composer Wolfgang Amadeus Mozart (1756-1791) and the Italian composer, conductor, teacher Antonio Salieri (1750-1825).

"Requiem" - a work on which Mozart worked before his death, remained unfinished.

Requiem is a mournful vocal or vocal-instrumental piece of music. (Sound bite)

Mozart's premature, early death is associated with the legend of his poisoning by Salieri, who lived and worked in Vienna from 1766, was the court chamber conductor and composer of the Italian opera in Vienna. Then he went to Paris, where he became close to the composer Gluck, became his student and follower. Returning to Vienna, he took up the post of court conductor. Salieri's students were L. van Beethoven, F. Liszt, F. Schubert. Salieri wrote 39 operas: "Ta-rar", "Falstaff" (comic opera), etc.

The version that Salieri allegedly poisoned Mozart has no exact confirmation and remains a legend. It is based on the assertion circulated in the German press that Salieri confessed the sin of killing Mozart on his deathbed.

– Why are you interested in the legend of Mozart's poisoning? (The legend of the poisoning of Mozart interested Pushkin because it allowed him to reveal the psychological reasons for the birth of envy in the soul of a person, leading him to irreconcilable conflict and to crime. historical persons, documentary facts from life have acquired an artistic generalization.)

Why small dramatic works Pushkin calls "Little Tragedies"? What are the characteristics of this genre? (Small - because these are tragedies of people, not nations. Tragedies - because the characters of the heroes are not given in dynamics, they are peculiar symbols, and the human world is ruled by passions, they are the basis of dramatic conflict.)

What universal problems are raised in tragedies? (Money - art - love - death.) From what positions does the author solve these questions?

How to connect the concrete historical realities of the time depicted in the tragedies with the era of Pushkin and with the problems of our days?

Questions and tasks for discussing the tragedy "Mozart and Salieri"

To scene I:

1. Read Salieri's first monologue. Is he right in believing that genius is a reward for long and hard work? Calling for higher justice, Salieri forgets that Mozart's genius is also a "gift of God." Confirm or refute this point of view.

2. How does Mozart and Salieri characterize their attitude to the unpretentious playing of a blind violinist?

3. What is the attitude of Mozart and Salieri to the sublime world of music and manifestations of earthly life? How does each of them represent the harmony of life?

4. Why does Salieri separate Mozart the musician and Mozart the man in his mind? How does this characterize him?

5. Read Salieri's second monologue at the end of scene I. What reasons does he give to justify the decision to poison Mozart? Is it possible to disagree with them? Justify your opinion.

To scene II:

1. What is the mood of Mozart in the scene in the tavern? What symbolic images are associated with it? internal state? (A man dressed in black - my black man - is like a shadow - he sits with us himself-thirds.)

2. What is the tragedy of Mozart's statement that "genius and villainy are two incompatible things"?

3. Comment on the remark of Mozart drinking poison: “To your health, friend ...” - and the remark of Salieri: “You drank! .. without me? ..”

4. Read the last monologue of Mozart. Why does he think that if everyone felt the “power of harmony”, like Salieri, then “the world would cease to exist”?

5. What, according to Mozart, is the balance and harmony of the world? How can his idea of geniuses, chosen ones, "neglecting contemptible good", be connected with the aesthetic position of Pushkin's work?

6. Why does the tragedy end with Salieri's question about the alleged villainy of Michelangelo?

Lesson conclusions. Salieri's painful contradictions are connected with the solution of questions about the correlation of craftsmanship and genius, idleness and labor, lightness of life and mortal severity. For Mozart, the harmony of the world is in the inseparable interpenetration of high and low, funny and sad, mundane and existential, art and life. He is the bearer of Pushkin's idea that genius is a gift from above, genius is a companion of goodness. The humanistic meaning of the tragedy is that no atrocity can be justified even by lofty goals. No mortal person can punish and pardon at his own discretion even in the name of art, that is, it is inhumane to dare to take on the functions of a higher mind, to try to remake what the Almighty created, because the world was originally arranged harmoniously and rationally. The finale of the tragedy affirms Mozart's truth and closes its content into a logical and compositional ring. The tragedy begins with the statement that "there is no truth on earth, but there is no truth above," and ends with the word "untruth." Salieri's main argument in his favor that the creator of the Vatican was a murderer is no longer a statement, but a question. Salieri is no longer a stronghold of orthodoxy and inviolability in his judgments. He doubted for the first time and therefore ceased to be a symbol. He has changed, which for him is tantamount to death. Therefore, in the finale, not only Mozart perishes, but also Salieri, who lived only in the realization of his indisputable right. This further enhances the tragedy of the finale and brings the play closer to the intensity of passions with ancient tragedies.

House assignment: Envy is a very scary thing. How to deal with it. Try to think about this problem. Write your recipes.

Following The Miserly Knight, on October 26, 1830, the tragedy Mozart and Salieri was written. Belinsky wrote: "Mozart and Salieri" is a whole tragedy, deep, great, marked by the stamp of a powerful genius, although small in volume. Initially, Pushkin was going to call his tragedy "Envy", but then abandoned this intention. Such a name would serve as a kind of didactic pointer, depriving the work of all its volume and inner freedom. The image of Mozart in Pushkin's tragedy not only does not coincide with any of the traditions of his portrayal in Russian literature, but does not even argue with it. Pushkin, creating a new type of hero-artist, the ideal image of the "son of harmony", the "idle reveler", relied rather on his own experience, the image of the Author in the lyrics and in "Eugene Onegin". Mozart was given not autobiographical traits, but Pushkin's creative self-awareness. The tragedy begins with Salieri's monologue - pathetic, rich not only in feeling, but also in thought. Salieri for Pushkin is the main subject of artistic research, he is the living embodiment of passion-envy. It is in it that it is so difficult and so necessary to understand, it is with it that the tension of artistic search is connected and, accordingly, the movement of the plot of the tragedy. Salieri is the antagonist of Mozart. Starting from the fictional story of the poisoning of Mozart by the famous Italian composer Antonio Salieri, who lived in Vienna, Pushkin created the image of a "priest, servant of art" who puts himself in the place of God in order to restore the lost balance to the world. It is this desire to restore the justice of the world order, and not “envy” of Mozart, that in itself pushes Salieri to villainy, as the reader learns from the monologue with which the tragedy opens:

Everyone says: there is no truth on earth.

But there is no truth - and above.

Both the monologue and Salieri's remarks in a dialogue with Mozart, who brings with him a blind violinist from a tavern and makes him play an aria from Don Giovanni, which offends the interlocutor to the core, are saturated with religious vocabulary. Salieri is to music as a priest is to church action; he considers every composer to be the performer of a sacrament, isolated from the "low" life. The one who is endowed with a genius, but not too selfless and “ascetic”, and most importantly, does not take music seriously enough, for Salieri is an apostate, a dangerous heretic. That is why Salieri is so painfully jealous of Mozart, although he was not envious, when the “great Glitch” appeared to the public and crossed out all his previous experience, forced him to start climbing to the heights of glory again. It's not that Mozart is full of inspiration, but Salieri, "Sounds dead, Music tore apart like a corpse." He envies Mozart only because a great gift went to a person who does not deserve it, that Mozart "is not worthy of himself", that carelessness, idleness, lightness offend the greatness of life's feat. If Mozart were different, Salieri would have resigned himself to his fame, just as he resigned himself to the glory of Gluck. By endowing the “idle reveler” with genius, Heaven, as it were, demonstrated its “illegibility”, which means that it ceased to differ from the earth. To restore the disturbed world order, it is necessary to separate Mozart's "man" from his inspired music: kill him, save her. And so the second monologue of Salieri, at the end of the first part, turns into a paraphrase of the sacrament. Resorting to the poison of Isora, Salieri seems to perform a sacred act: from the “cup” of friendship, Salieri is going to commune Mozart - death. Many motifs of the Baron's monologue from the tragedy "The Miserly Knight" are directly repeated here. No wonder Salieri treats Music with the same religious trepidation with which the Baron treats Gold. Pushkin surrounds the image of Salieri with biblical and evangelical associations. So, having lunch in a tavern and drinking a glass of poison, Mozart proclaims a toast to the "sincere union of the Two Sons of Harmony." Thus, Mozart calls Salieri his brother. And involuntarily reminds him of the first murderer Cain, who took the life of his brother Abel precisely out of envy. Then, left alone with himself, Salieri recalls the words of Mozart: “genius and villainy Two things are incompatible” - and asks: “And Bonarotti? Or is it a fairy tale and the creator of the Vatican was not the Killer? The legend accused Michelangelo not just of murder, but of having crucified a living person in order to more accurately depict the Crucifixion. Despising life, he serves its contemptible benefit (“He will not leave us an heir. What good is he?”), Mozart, plunging into life, neglects the benefit - and remains an idle lucky man who serves only Harmony. The very first words of Salieri deny the very possibility of truth: “Everyone says: there is no truth on earth. But there is no truth - and higher, ”and almost the last exclamation of Mozart contains confidence in the unshakable existence of truth:“ Isn’t it true? Pushkin, according to the researcher Maimin, set as his task to explore envy as a passion both base and great, which is decisive in many things in life. Pushkin's Salieri was never "an envious contemptible." Envy came to him not as a property of character, but as an unexpected impulse, as a force with which he cannot cope. His envy is not petty. Salieri admires Mozart, and bows before him, and envies him. The more you admire, the more you envy. When in his second monologue ("No! I can not resist the share") Salieri tries to logically justify the murder he planned, this logic of his does not have any objective meaning. Salieri's passion is irresistible to the mind, is beyond the rational concept. The main theme of Pushkin's tragedy is not just envy, but also the pangs of envy. In Salieri, Pushkin completely exposes the heart and soul of someone who, by his actions, can and should be called criminal and heartless. Salieri decides to poison a genius, moreover, a man who is the very innocence and generosity. Can he have an excuse? Pushkin tries to understand and explain his hero. In the tragedy Mozart and Salieri, Pushkin reveals to the reader the depth and peculiar height of a heart possessed by a criminal passion. The “truth” of Salieri, who killed Mozart, is the truth of an envious person, but a lofty envious one. The problem of envy in tragedy is explored in all its complexity and possible depth. In the tragedy, Mozart meets twice with his antagonist friend Salieri - in his room and in a tavern, goes home twice - the first time: "to tell Zhenya not to wait for dinner", the second - to fall asleep after drinking the poison sprinkled by Salieri " forever, forever." During the first meeting, Mozart is happy, during the second - gloomy. And both times the reason for his mood is music. Mozart, unlike Salieri, does not separate "life" from "music" and music from life. For Mozart, these are two consonances of a single harmony. Without separating life from music, Mozart sharply separates good from evil, to be the son of harmony, an idle lucky man, a genius means to be incompatible with villainy. November 4, 1830 Pushkin finished the tragedy "Stone Guest". Compared to the previous small tragedies, The Stone Guest meant not only a new subject of artistic research, but also an appeal to other times and peoples. It was not for nothing that Belinsky wrote about Pushkin's ability to "transfer freely to all spheres of life, to all ages and countries." Tragedy written in famous literary plot, who paid tribute to the passions of Molière and Byron. But Pushkin's development of the plot does not repeat either Molière or Byron, it is highly original. One of the most interesting poetic finds of Pushkin was the image of Laura. There is no such character in any of the legends about Don Juan. Laura in Pushkin's tragedy lives on her own, as a bright personality, and she enhances the sound of the Don Juan theme. She is like his mirror image, like his double. In it and through it, the triumph of Don Juan, the strength and charm, and the power of his personality are affirmed. And it also repeats some of its important features. Both of them not only know how to love, but they are poets of love. Don Guan - a Spanish grandee who once killed the commander; sent by the king "to save" from the revenge of the family of the murdered. Don Guan arbitrarily, "like a thief", returned to Madrid and trying to seduce the Commander's widow Don Anna, jokingly inviting the statue of the Commander to his date with Dona Anna and dying from the stone handshake of the revived statue. The role of the "eternal lover" suggests an adventurous character, an easy attitude to life and death, and cheerful eroticism. Preserving these features, Pushkin somewhat separates his hero from his literary predecessors - primarily Juan from Mozart's opera. Pushkin's lightweight Don Juan is not only doomed to a tragic outcome, he is placed in an unbearable position from the very beginning. Already in the first scene, talking with his servant Leporello on the streets of Madrid at night, Don Juan drops a random phrase that "predicts" his future communication with the world of the "dead": women in those "northern" regions where he was exiled are blue-eyed and white like "wax dolls" - "there is no life in them." Then he remembers his old meetings in the grove of the Antoniev Monastery with Ineza, about her dead lips. In the second scene, he comes to his former lover, the actress Laura, stabs her new chosen one Don Carlos, who, unfortunately, was the brother of the grandee he killed in a duel, kisses her dead and does not attach importance to Laura's words: “What should I do now, rake, the devil? Don Juan does not consider himself "depraved, unscrupulous, godless"; he is simply carefree and bold, eager for adventure. But Laura's word "devil" unwittingly points to his dangerous rapprochement with demonic forces, just as Don Juan's own words "about wax dolls" warn him of a dangerous rapprochement with the realm of "animated automata". The same "plot-language motif" will be developed in Dona Anna's line in the rendezvous scene:

You are said to be a godless corrupter,

You are a real demon.

In the third scene - in the cemetery of the Antoniev Monastery, in front of the grave monument of the Commander - Don Juan finally falls into a verbal trap. Taking advantage of the fact that Dona Anna had never seen her husband's killer, Don Juan, disguised as a monk, appears before the widow. He is not praying for anything, for death; he is condemned to life, he envies the dead statue of the Commander (“happy, whose cold marble Will warm her with heavenly breath”); he dreams that his beloved could touch him with a “light foot” grave stone. All this is the usual love ornate, lush and empty. Happy Don Juan, inviting the statue to come to tomorrow's date and stand guard at the door, is joking. And even the fact that the statue nods twice in agreement scares him only for a moment. The fourth scene - the next day in Dona Anna's room - begins with the same play on words. Having introduced himself the day before as a certain Diego de Calvado, Don Juan gradually prepares her interlocutor to announce her real name, resorting to conditional images of love language (“marble husband”, “deadly secret”, willingness to meekly pay with her life for a “sweet moment of a date”, a kiss goodbye - "cold"). But all this has already come true: the dead statue demonically came to life, the living Don Juan will have to turn to stone from the handshake of her “marble right hand”, become truly cold, pay with his life for the “moment” of a date. The only opportunity that Pushkin gives his hero before he to fall into hell with a statue is to preserve dignity, to meet death with that high seriousness that Don Juan so lacked during his lifetime: "I called you and I'm glad I see you." Don Juan is not just a seeker of love adventures, but above all a catcher of hearts. Capturing other women's souls and hearts, he affirms himself in life, affirms the incomparable fullness of his life. He is not only a poet of love - he is a poet of life. Don Juan is different every minute - and every minute he is sincere and true to himself. He is sincere with all women. Don Juan is sincere even when he says to Dona Anna:

But ever since I saw you

I feel like I've been completely reborn.

I love you, I love virtue

And for the first time humbly before her

I bow my trembling knees.

He tells Dona Anna the truth, as before he always spoke only the truth. However, this is the truth of the moment. Don Juan himself characterizes his life as "instant". But every moment for him is his whole life, all happiness. He is a poet in all manifestations of his character and his passion. For Don Juan, love is a musical, song element that captivates to the end. Pushkin's hero is looking for the fullness of victory, the fullness of triumph - that's why he takes a crazy step and invites the statue of the Commander to be a witness of his love date with Dona Anna. For him, this is the highest, ultimate triumph. The entire development of the tragedy, all the main events in it connected with Don Juan, come down to his desire to achieve the ultimate triumph: first, incognito, he seeks the favor of Dona Anna, then invites the Commander to make sure of his triumph, then reveals his incognito so that Dona Anna loved him, in spite of everything, in his own capacity. All these are steps towards greater and greater fullness of victory. Complete triumph, as happened with Don Juan and as often happens in life, turns out to be at the same time death. Dona Anna de Solva in Pushkin's tragedy is not a symbol of seduced innocence and not a victim of vice, she is faithful to the memory of her husband killed by Don Juan, every evening she comes to his grave in St. Anthony's Monastery "to bend her curls and cry." Avoids men, communicates only with the cemetery monk. Dona Anna, married off by her mother to the wealthy Commander Don Alvar, his killer she had never seen before. This allows Don Juan, expelled by the king from Madrid, but who returned without authorization, to remain unrecognized, he appears at the Commander's grave and appears before Anna as a hermit in disguise to touch a woman's heart with sweet speeches, and then "open up". Belinsky called the tragedy "The Stone Guest" "without any comparison, the best and highest artistic creation of Pushkin."

"Mozart and Salieri" (see its summary on our website) is based on a legend according to which the great Mozart allegedly died, poisoned by his friend, the composer Salieri. Here main theme is the passion of envy. The bright, cheerful image of Mozart, his inspired genius, is set off by the gloomy figure of Salieri, who painfully envies Mozart's talent and admits it to himself (See Salieri's Monologue):

I'll say it myself - now I
Envious. I envy; deep,
I'm painfully jealous...

Salieri is a working musician; he passionately loves music, but he has no creative gift; he worked on his compositions stubbornly, for a long time, patiently, like a craftsman; he himself says: "I have made craft a footstool for art."

Mozart and Salieri. Illustration by M. Vrubel for the tragedy by A. S. Pushkin, 1884

And now he sees that a cheerful, carefree young man - "an idle reveler", as he calls Mozart, without hard work, freely and easily creates brilliant, immortal works of music. “Where is the rightness,” Salieri asks himself:

When the sacred gift
When immortal genius is not a reward
Burning love, selflessness
Works, zeal, prayers sent, -
And illuminates the head of a madman,
Idle revelers!.. Oh Mozart, Mozart! -

Envy brings Salieri to the idea of killing Mozart. He admires his genius:

Like some kind of cherub
He brought us a few songs of paradise,
So that, revolting wingless desire
In us, children of dust, fly away after!

But it is precisely this "wingless desire" of the stubborn worker Salieri, a "servant of music" devoid of talent, that brings him to crime. He tries to justify his crime to himself, assures himself that by killing Mozart, he thereby serves art, since Mozart, with his free, easy creativity, without hard work and effort, does not elevate art, does not bring benefit art. But just before Salieri throws poison into his friend's cup, Mozart, in a casual conversation, utters a phrase that hits Salieri in the heart:

Genius and villainy
Two things that don't go together

So Salieri is not a genius? In conversation, Mozart defines the real "servants of music": they do not care about "the needs of a low life" - they are completely "indulged in free art."

There are few of us chosen, lucky idlers,
Neglecting the despicable benefit ,
One beautiful priests.

Mozart's Requiem

Every word of Mozart castigates Salieri. He cries, listening to the marvelous sounds of the Requiem, a funeral hymn composed by Mozart, as if for himself - but is no longer able to stop the perfect villainy. Mozart is doomed to death.